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Cries and Whispers (1972)
Ingmar Bergman’s wrestling with matters of faith and tortured female relationships has never been so vividly illustrated as it is in Cries and Whispers, confining its three sisters and their maid to the crimson-saturated dreams of their family home, and surreally interrogating the fractures which only deepen with their parallel suffering.
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The Touch (1971)
The Touch may be one of Ingmar Bergman’s plainer stylistic efforts, but his wielding of theological symbolism to interrogate a broken love triangle is deft, bitterly driving the Madonna’s degraded image and a tainted Garden of Eden between his doomed lovers.
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Eraserhead (1977)
Within Eraserhead’s nightmares of mutant babies and urban isolation, it is the psychological impression of its surreal imagery which carries far more impact than any attempts to derive its literal meaning, as David Lynch mystifyingly manifests the dark subconscious of one young father existentially terrified of parenthood.
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3 Women (1977)
The motifs of monsters and mirrors drawn through Pinky’s obsession with local popular girl Millie make for some powerfully abstract imagery in 3 Women, finding remarkable psychological tension in Robert Altman’s enigmatic blending of female identities, as well as in its setting of a modern culture where individuality is everything.
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Nosferatu the Vampyre (1979)
Nosferatu the Vampyre may emerge within a long lineage of Dracula adaptations, and yet is infused on every cinematic level with Werner Herzog’s fear and awe at a godless world, lulling us into its slow-burn narrative which drifts by with tragic, hypnotic dread.
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Ludwig (1973)
Within the opulent palaces of 19th century Bavaria, Luchino Visconti’s operatic staging exquisitely details King Ludwig II’s decadent dreams and gradual deterioration, seeking to understand the legacy of this historical empire through the strange mix of sexual insecurities, mental illnesses, and artistic obsessions which roil around in his lonely, troubled mind.


